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      ‘Fool’s Paradise’ Review: No Talent? No Problem!

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      A hapless man who barely speaks becomes a movie star in Charlie Day’s scattershot Hollywood satire.Charlie Day casts himself as a passive, nearly silent actor, Latte Pronto, in his feature directing debut, “Fool’s Paradise.” There’s something grudgingly admirable about the voluble star essentially spending an entire film doing reactions. But it’s a disastrous move in a Hollywood satire that already needs to be more than a grab bag of jokes.In Day’s strained, shapeless story, a desperate publicist, Lenny (Ken Jeong), attaches himself to Latte. Freshly released from a psychiatric ward, Latte is hired as the look-alike replacement for a big star (Day again) who dies while shooting a western.Day, a sitcom warrior pushing 16 seasons on “It’s Always Sunny in Philadelphia,” throws everything at the wall to see what sticks. That means a series of stale bits about showbiz shallowness, opportunistic agents (Edie Falco plays Latte’s) and producers, and everyone who puts up with them.At least the supporting cast members freely fly their freak flags. Adrien Brody nails a clueless, hey-bro cool as Latte’s reckless, friendly co-star. Ray Liotta bulldogs along amusingly as the western’s producer, while John Malkovich goes apoplectic as some kind of éminence grise. Kate Beckinsale vamps as Latte’s glam new wife, and Common plays a paranoid ex-star of superhero movies.Turning off one’s brain for the film would be easier without witnessing the weak attempt at a tragic arc for Lenny — it’s more of a squiggle. You’d need to be Blake Edwards to pull this off. One wishes Day had looked further afield than Hollywood for inspiration.Fool’s ParadiseRated R for language, some drug use and sexual content. Running time: 1 hour 37 minutes. In theaters. More

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      15 Fashion Triumphs From Cannes Over the Decades

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      Movies aren’t the only thing to watch. The film festival has made red carpet waves since “being seen” became mainstream.If the Met Gala is the all-star showcase of red carpet entrances, the Oscars the skills championship, and the MTV Video Music Awards the X Games, then the Cannes Film Festival is effectively the playoffs: an extended period in which celebrities show up multiple times in clothes high and low, demonstrating all their moves.And though outfits seem to be getting increasingly extreme with the proliferation of social media, a look back through the history of the festival’s runway (oops, red carpet) — which this year runs May 16-27 — reveals that it was, in fact, ever thus.The Croisette boulevard has always been a catwalk and we, the rapt audience looking on.The actress Elizabeth Taylor grasps the arm of her husband at the time, the film producer Mike Todd, at the Cannes Film Festival, wearing a Balmain gown and Cartier tiara.Malcolm McNeill/Mirrorpix, via Getty Images1957Elizabeth TaylorWhen she attended Cannes on the arm of her third husband, the producer Mike Todd (who was there to promote “Around the World in 80 Days”), Ms. Taylor was Hollywood royalty, and she dressed the part — from the tip of her diamond Cartier tiara to the hem of her white Balmain gown and the fingertips of her opera gloves. The princess dress would forever after be a festival staple (not least on Princesses Grace and Diana when they would take their own Cannes bows).Catherine Deneuve attended a screening of “Les Cendres” by Andrzej Wajda at Cannes in an Yves Saint Laurent T-shirt dress.Gamma-Keystone, via Getty Images1966Catherine DeneuveMs. Deneuve attended Cannes with her then-husband, the photographer David Bailey, in a long seaside-striped sequin Yves Saint Laurent T-shirt dress. She was a de facto YSL ambassador before that term had even entered the fashion playbook (back then, the usual appellation was “muse”). She would remain one for decades, loyally wearing YSL onscreen and off. When it comes to casual glamour, however, this dress set the tone, proving the concept was not an oxymoron, but a whole potential genre unto itself.Jane Birkin toted her signature picnic basket as a handbag to Cannes.Gilbert Giribaldi/Gamma-Rapho, via Getty Images1974Jane BirkinMs. Birkin popped up at Cannes with her beau, Serge Gainsbourg, and a picnic basket as a handbag, toting it not just during the day, but on the red carpet with a glimmering frock. Reportedly discovered in a fishing village in Portugal, it was the Birkin bag before the Birkin bag. It became a symbol of the British star and of a certain je ne sais quoi in boho style and the freewheeling nature of Cannes.Madonna arrived for the premiere of her film “Madonna: Truth or Dare” (known internationally as “In Bed with Madonna”) in a pink Jean Paul Gaultier coat that she shed to reveal a satin undergarment set.Dave Hogan/Getty Images1991MadonnaShe came to Cannes to unveil “Madonna: Truth or Dare” — and herself. Decades before Lady Gaga stripped down to her undergarments on the Met Gala steps, Madonna walked the carpet for her premiere in a voluminous pink taffeta coat by Jean Paul Gaultier — only to drop it at the last moment to reveal a white satin cone bra, knickers and a garter belt set. She jolted the public out of their torpor and started a new era of peekaboo dressing.Sharon Stone came to the premiere of “Unzipped” unbuttoned — a satin skirt parted to uncover a bedazzled romper.Stephane Cardinale/Sygma, via Getty Images1995Sharon StoneIn 2002 Ms. Stone came to Cannes as a member of the film festival jury and revived her flagging profile by walking the red carpet in a different fashion statement every night. But years before that, she made dressing noise when she arrived at the premiere of “Unzipped” in a champagne-colored satin skirt that was, well, unbuttoned to reveal a bedazzled romper beneath. Ever since, shorts have been a festival staple.For the screening of “Fear and Loathing in Las Vegas,” Johnny Depp was accompanied by his girlfriend at the time, Kate Moss.Patrick Hertzog/Agence France-Presse — Getty Images1998Kate MossMinimalism came to the Croisette courtesy of Ms. Moss, attending the premiere of “Fear and Loathing in Las Vegas” with her then-boyfriend, Johnny Depp. Ms. Moss wore a black cocktail dress with ostrich feathers at the top and almost no makeup with merely a touch of diamonds and barely-there sandals. She made everyone else look overdone and overdressed, washing the Augean stables of Cannes clean.Tilda Swinton walked the Croisette in a metallic pantsuit.Daniele Venturelli/WireImage2007Tilda SwintonMs. Swinton strode the carpet in a metallic pantsuit, proving that a woman does not need a big dress to make a big statement.Linda Evangelista in a gold Lanvin dress.Kurt Krieger/Corbis, via Getty Images2008Linda EvangelistaMs. Evangelista posed like a gold Greek statuette in Lanvin at the premiere of “Indiana Jones and the Kingdom of the Crystal Skull.” Models had become key parts of the festival’s opening evening mix, upping the fashion ante even further.Lupita Nyong’o in a chiffon Gucci dress.Venturelli/WireImage2015Lupita Nyong’oMs. Nyong’o seemed to embody springtime itself in a green pleated Gucci chiffon dress accented with crystal flowers. It was only a few months after Alessandro Michele had taken over as creative director of the Italian house, and the dress heralded the arrival of a new aesthetic and Hollywood love affair with Gucci.Amal Clooney in an Atelier Versace dress.Andreas Rentz/Getty Images2016Amal ClooneyMs. Clooney made her Cannes debut in a classic butter yellow Atelier Versace dress with a high slit on one leg, entirely overshadowing her husband, George, at the premiere of his film, “Money Monster,” and, once again, proving style and substance are not antithetical concepts.Rihanna in a Dior couture gown.Vittorio Zunino Celotto/Getty Images2017RihannaShe made her first Cannes appearance at the “Okja” premiere in an ivory Dior couture gown with a long matching coat and New Wave-style sunglasses. Two years later, Dior owner LVMH would announce a deal with the artist for her own fashion line, and though it was shut down during the pandemic, her ability to channel cool has never wavered.Kristen Stewart, in a Chanel dress, removed her Louboutins to ascend the stairs barefoot.Andreas Rentz/Getty Images2018Kristen StewartMs. Stewart’s short chain mail Chanel dress was a fighting mix of armor and crystals, but what really made news was her decision to doff her Christian Louboutin stilettos and walk up the stairs barefoot. Coming a year after the actor complained about the festival’s unspoken high heels dress code, it was an unmistakable fashion throw down and, well, a step forward for wardrobe equity.Isabelle Huppert in a Balenciaga gown.Andreas Rentz/Getty Images2021Isabelle HuppertThe French actress made the ultimate elegant refusal of Cannes convention in a high-necked, long-sleeved all-black Balenciaga gown, matching boot leggings and matching shades. It cut through the carpet froth and excess like a knife.Spike Lee in a colorful suit made by Virgil Abloh for Louis Vuitton.Eric Gaillard/Reuters2021Spike LeeThe sole man in this trendsetting list, Mr. Lee put ye olde penguin suits to shame as jury president, eschewing the usual tuxedo or white dinner jacket for a bouquet of sunset-toned suiting, by Virgil Abloh for Louis Vuitton. He did the right thing.Aishwarya Rai Bachchan in a Gaurav Gupta gown.Stephane Mahe/Reuters2022Aishwarya Rai BachchanSometimes, it seems like the wide open skies of the Côte d’Azur encourage even wider skirts on the Cannes carpet, but Ms. Bachchan topped them all in a fantastical creation from Gaurav Gupta that made her look like some sort of alien smoke goddess materializing on Earth. Sometimes, it really does seem like the looks at Cannes are out of this world. More

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      Ruben Ostlund Doesn’t Want You to Get Too Comfortable

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      The Swedish director, this year’s jury president for the Cannes Film Festival, talks about his approach to making films.For a filmmaker whose most recent movie was nominated for three Academy Awards and who has twice won the Palme d’Or, the top prize at the Cannes Film Festival, it might sound strange to hear Ruben Ostlund say he doesn’t focus on success.“I’m much more interested in when we fail as human beings than when we succeed,” said the Swedish director, who will lead the jury at this year’s festival, which runs from Tuesday to May 27.Mr. Ostlund, 49, won the Palme d’Or, last year for “Triangle of Sadness,” a class satire set aboard a doomed luxury yacht, and for his previous feature, “The Square,” an unsparing sendup of the art world, in 2017. Mr. Ostlund is one of only nine filmmakers who have multiple Palmes d’Or to his credit — and one of three to win the award for consecutive films.After its success at Cannes, “Triangle of Sadness,” which was Mr. Ostlund’s first film entirely in English, went on to become an art-house hit in both Europe and America, and was nominated for three Oscars — for best picture, best director and best original screenplay — but didn’t win any.In his three most recent features, starting with 2014’s “Force Majeure,” Mr. Ostlund has consciously tried to get away from a certain type of European art-house film that is often cerebral, challenging and severe.“I wanted to create a wild, entertaining ride at the same time that I was trying to talk about the content that I thought was important or that I was curious about, and not making a contradiction between those things,” he said in late April during a video interview, speaking from his house in Campos, Majorca.He pointed to the political comedies of Lina Wertmüller, the Italian director whose 1974 film “Swept Away” was a clear touchstone for “Triangle of Sadness,” and the surreal provocations of the Spanish filmmaker Luis Buñuel as examples of serious-minded films that are also great fun to watch.Arvin Kananian, left, and Woody Harrelson in a scene from “Triangle of Sadness,” which Mr. Ostlund won the Palme d’Or for last year.Neon, via Associated PressIn a statement announcing Mr. Ostlund as jury president in February, festival organizers called the decision a “tribute to films that are uncompromising and forthright and which constantly demand that viewers challenge themselves and that art continue to invent itself.”“Contrary to popular belief, thought-provoking cinema can also be popular,” Philippe Bober, one of the producers on “Triangle of Sadness,” wrote in an email.“We want to make uncompromising auteur films but also to embrace the audience,” Mr. Bober continued. He has worked with Mr. Ostlund since 2005.“The bad news for producers,” Mr. Bober added, referring to himself and the film’s other Oscar-nominated producer, Erik Hemmendorff, “is that if you want to make good films, you have to support your directors’ radicalism when they are experimenting with form and content for a long period of time before you make money.”The critical and popular acclaim for “Triangle of Sadness” seems a vindication of Mr. Bober’s faith in Mr. Ostlund.The humor, often acid-laced, that makes the Swedish director’s films so entertaining is often deeply discomfiting — and sometimes downright squirmworthy. This has proved divisive, with some viewers regarding his work as manipulative or downright cruel (“Triangle of Sadness” includes an audaciously long vomiting scene), and others hailing him as an uncommonly perceptive social commentator.“I think all my approaches in my films are looking at human behavior, creating dilemmas,” Mr. Ostlund said, “in order to try to tell something about us human beings.” He added that he tried to create “scenes where I believe that, yeah, this is an accurate and a true picture of our behavior” without pointing fingers.“I’m happy,” he added, “if I can reach the level of a really good sociological experiment.”According to Owen Gleiberman, chief film critic for Variety magazine, “Triangle of Sadness” is “very much a movie of its moment.”“It’s about the 1 percent, and it’s about the 1 percent getting their comeuppance. And that’s a good theme and it’s a gratifying theme,” said Mr. Gleiberman, who attended his first Cannes Film Festival in 1996. At the same time, he said he felt that the film was “too in love with its own satirical excess.” While he was delighted by the unexpected Palme d’Or win for “The Square,” he felt “Triangle of Sadness” was less deserving of the prize.“There’s no rule that says that a director shouldn’t take the Palme d’Or twice in five years,” Mr. Gleiberman said. “But when that happens, it’s usually an indication not that he has made two masterpieces, but that he’s become a Cannes darling.” As such, the fact that Mr. Ostlund was tapped to head the Cannes jury, Mr. Gleiberman added, “makes perfect sense.”“I think all my approaches in my films are looking at human behavior, creating dilemmas,” Mr. Ostlund said, “in order to try to tell something about us human beings.”Ana Cuba for The New York Times“I hesitated a little bit because of the burden of the position actually,” Mr. Ostlund said about being asked to chair the jury. His eight co-jurors include the American actors Paul Dano and Brie Larson, the Argentine director Damián Szifron, and the French filmmaker Julia Ducournau, who won the Palme d’Or in 2021 for “Titane,” a controversial body-horror film.Even though no one person gets to decide the winners, the awards at Cannes often become identified with that year’s jury president. Historically speaking, the films that have taken the Palme d’Or, Mr. Gleiberman suggested, are “not some list of masterpieces.”“It’s more like the good, the bad and the ugly,” he said.Mr. Ostlund seemed all too aware of this when he suggested that the Palme d’Or awarded by a jury president is “something that can follow you then through your career,” for good or for ill.But Mr. Ostlund said it was important, above all, for him to endorse what Cannes stands for. “For me, it is the festival in the world that is on the barricades fighting for cinema” and a “provocative approach to cinema as an art form,” he said.“The last year when I had been traveling around with ‘Triangle of Sadness,’ I have tried to really promote cinema, talked about the advantage of cinema, talked about what are the qualities of watching things together instead of sitting in front of an individual screen,” he added.The Hungarian filmmaker Kornel Mundruczo, another Cannes favorite, said that the festival connected him to an “ethical, fundamental state of what does that mean to be a filmmaker and a true believer in film as the seventh art.”Films by Mr. Mundruczo, 48, and Mr. Ostlund have shared lineups at Cannes several times. In 2014, they both headlined the festival’s Un Certain Regard sidebar: Mr. Mundruczo’s “White God” won top prize and Mr. Ostlund’s “Force Majeure” took the jury prize. Three of Mr. Mundruczo’s other films have screened in the main competition at Cannes; he was invited to be a juror at Cannes twice but declined because of prior commitments.While expressing reservations about running films like horses in a race, Mr. Mundruczo, who has chaired juries at other festivals, said he enjoyed the experience — and not only because it forced him to take in multiple films a day.“As a jury member, you feel like you can give your taste, your honesty and your vision of the future of cinema and all your love of cinema,” Mr. Mundruczo said in an interview in Berlin, where he lives.Mr. Ostlund, who has also served on film festival juries before, said it was important to take care of the group dynamics and make sure everyone “feels that they are seen.”“I think I will have a very Swedish approach when it comes to running the jury,” he said.“It will be a democracy.” More

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      ‘Down With Love’ 20 Years Later: Celebrating the Phoniness of Rom-Coms

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      The 2003 box office flop has been embraced by a younger generation that understands the role-playing nature of courtship.Twenty years ago, before the retro-chic sex comedy “Down With Love” was released in American theaters, the anticipation was high. The Tribeca Film Festival, then in its second year, made the film its flashy opening-night selection. Cheeky promotional images of its two stars were ubiquitous: Renée Zellweger was a bona fide It Girl following the success of “Bridget Jones’s Diary” (2001) and “Chicago” (2002); and Ewan McGregor was riding high after the one-two punch of “Moulin Rouge” (2001) and “Star Wars: Episode II — Attack of the Clones” (2002).Then the film flopped.Directed by Peyton Reed with a script by Eve Ahlert and Dennis Drake, “Down With Love” (available to rent on most major streaming platforms) is quite unlike the rom-coms of the time. It is a postmodern throwback to the midcentury sex farce: namely, “Pillow Talk” (1959) and “Lover Come Back” (1961), saucy battles of the sexes starring Rock Hudson and Doris Day. Roger Ebert approved of the new comedy, but most critics shrugged at what they considered a fluffy homage to a much better thing.Day and Hudson in “Pillow Talk.” Critics compared “Down With Love” unfavorably with the earlier comedy.Universal PicturesAudiences in the United States didn’t show up either, proving that the bedroom of yore meant little to the average 21st-century spectator. The film cost $35 million to make and ended its domestic run with about $20 million. By contrast “How to Lose a Guy in 10 Days,” another rom-com released that year, received $105 million; “Something’s Gotta Give,” $124 million.In 2003, the golden age of the rom-com was in flux. The heavyweight titles of the previous decade, a chunk of them directed by Nora Ephron (“Sleepless in Seattle,” “You’ve Got Mail”) or led by Julia Roberts (“Pretty Woman,” “Notting Hill”), balanced realism and fantasy, injecting modern sensibilities and gloriously messy women into the cheesy happily-ever-after formula. With these, the studios hit pay dirt, and (per usual), they reacted by increasing their output through the aughts.“We always knew it was going to be a bit of a marketing challenge,” Reed told me in a video interview about “Down With Love.” He added, “The whole point of it was that it wasn’t supposed to feel like every other contemporary romantic comedy. So we leaned into that difference with the distinctive sets and the built-in artificiality.”Before “Down With Love,” Reed had directed the cheerleading competition comedy “Bring It On,” a sleeper hit that was playfully but thoughtfully constructed: the routines featured Busby Berkeley-style choreography, and one sequence involving a pill-guzzling dance instructor referenced Bob Fosse’s “All That Jazz.” No wonder that when Reed came across Ahlert and Drake’s script, he was immediately drawn to its throwback spirit and visual specificity. “Without making a musical, I loved the idea of this very stylized comedy, where the camera and the production design and the wardrobe shapes the humor,” he said.“Down With Love” takes its beats from the Hudson-Day comedies, but it winks back at dozens of cinematic confections from that period. Like Natalie Wood in “Sex and the Single Girl” (1964), Zellweger’s Barbara Novak pens a global best seller urging women to treat sex cavalierly, as men do, and forget about the ring. McGregor’s Catcher Block — the “James Bond of men’s journalism” — enjoys a packed schedule of booty calls. He makes his dashing first appearance by chopper, descending upon the Know magazine headquarters straight from his latest champagne-fueled all-nighter. His breed of manly man is imperiled by Novak’s treatise, so, in the guise of a prudish astronaut from Texas, he courts the enemy to fuel a hit piece proving that her feminism is a front.Sarah Paulson, left, and Zellweger in just a few of the looks that made the film snap. Merrick Morton/20th Century Fox and Regency EnterprisesThe film is a ’60s period piece bound up in a bawdier, more sexually explicit package than that of its predecessors, with Novak and her chainsmoking agent-cum-bestie, Vikki (Sarah Paulson) canoodling around town like the ladies of “Sex and the City.” And the clothes! Ah, the clothes are marvelous. It’s a glamorous parade of kitten heels and kooky hats, fringe dresses and fur-trimmed silk robes. The costumes change at the speedy clip of the film itself, which takes Barbara, Catcher, Vikki and Catcher’s lovesick editor, Peter (David Hyde Pierce), through a series of switcheroos and prankish plot reversals that give the ladies the edge. While the film’s sexual innuendo-laden banter and exuberant color schemes seem to recall Austin Powers movies, well, this has more grace and bubbly femininity than those crude parodies.“Down With Love” followed another old Hollywood-meets-new production, “Far From Heaven” (2002), Todd Haynes’s ode to the Technicolor melodramas of Douglas Sirk. Before “Mad Men” landed on television in 2007, offering up a seductively slick skewering of the American dream, “Down With Love” and “Far From Heaven” both employed lush nostalgic aesthetics while questioning American culture’s sentimental relationship to the past. Haynes’s film was rightfully lauded; “Down With Love,” as we know, was not. Like another misunderstood and promptly derided rom-com from that year, Joel and Ethan Coen’s “Intolerable Cruelty” — a Hepburn-Tracy-like screwball revenge-romp — its style too radically broke with the mold of a genre beloved for its consistency.Reed’s bubble-gum tribute is all snappy wordplay and tongue-in-cheek jabs, but there’s an extravagant phoniness to it all, too, that calls attention to its imaginary trappings. Cartoonish rear projections of the Manhattan skyline, split-screen phone calls that mirror sex acts, and routine breaks of the fourth wall give the film the feel of a pop product that understands its own game, and throws it into a state of hyperreality.There’s an extravagant phoniness to the film that calls attention to its imaginary trappings.Merrick Morton/20th Century Fox and Regency EnterprisesMischievously self-aware, it points to the contrivances that uphold modern romance, the games of scheming and flirting that we find so pleasurable and easy to play along with, despite their phony and potentially regressive underpinnings. The film pokes fun at retrograde ideas about sex and sexuality. Peter, for instance, a softy who yearns to be, essentially, a stay-at-home dad, is repeatedly mocked for being a closeted gay man. He’s not, but the gag is that everyone around him can’t make sense of a man who doesn’t fit the role he’s supposed to play.“This would be really hard to make now. Rom-coms are supposed to be cheap and this had a high production value — $35 million? Studios don’t make these films at that price point anymore,” Reed added.Indeed, the screwball spirit is in short supply these days. The lifeless “Ticket to Paradise” failed to resurrect the punchy him-against-her dynamic of rom-coms past, and, for the first half-hour at least, the Lindsay Lohan vehicle “Falling for Christmas” takes on the flamboyantly fake style and deliciously ludicrous plotting of a fizzy farce from the ’30s before beelining into tedious moralizing.No wonder “Down With Love” has become something of a cult item, its meta-referential charms perhaps more apparent to a younger, queerer generation that better understands the role-playing nature of gender and romantic courtship. I recall seeing the film projected without sound at a bar-turned-dance club in Washington, D.C. In February, at a packed Valentine’s Day-themed screening of the film in Brooklyn, the giddy audience was uninhibited with their oohs and aahs.The film mocks, but it also transports with its eye-candy visuals and coy performances, reminding us that a suspension of reason is required to perform gender, to be sucked into a rom-com and, even, to fall in love. More

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      ‘Dealing With Dad’ Review: A Family Dysfunction

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      A fragmented family reunites to help their depressed patriarch in this surprisingly lighthearted film about serious subjects.“Dealing With Dad,” a low-budget indie from the writer-director Tom Huang, is a surprisingly lighthearted movie about two serious subjects: generational trauma and chronic depression. It tells the story of three siblings — the high-strung workaholic Margaret (Ally Maki), the layabout comic book nerd Larry (Hayden Szeto) and the timid, recently-separated Roy (Peter S. Kim) — who must return to their family home to help care for their father (Dana Lee), disconsolate and bedridden after being laid off from his lifelong job. Though concerned for him, the kids are conflicted, having suffered at their father’s somewhat tyrannical hands growing up. The film is at its most compelling when tackling this tension between care and resentment head-on — it has a ring of truth that’s sadly squandered whenever Huang reaches for easy laughs.The comedy isn’t spiky and tightly wound up around the darker material, as it is in, say, “Welcome to the Dollhouse,” “Heathers” or “Little Miss Sunshine.” Rather the humor is glib and fatuous, with the broad, clichéd tone of an old-fashioned network sitcom. Lame fat jokes, gags about someone being gender-fluid and outdated punch lines about “American Idol” and Tucker Max abound.At one point, the siblings dine out at an ostensibly upscale restaurant, and there are over-the-top complaints about arugula on pizza. It wouldn’t have been funny in 2005, when fancy-food jokes were at least less stale. In a modern film about a family’s strained efforts to manage their patriarch’s mental illness, however, it demonstrates a critical misunderstanding of the material’s strengths. The family is hurting. Dumbing them down doesn’t help.Dealing With DadNot rated. Running time: 1 hour 46 minutes. Rent or buy on most major platforms. More

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      Hollywood Writers Strike Is ‘Going to Be a While’

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      The writers and entertainment companies remain far apart on several key issues, including money, and the standoff could last for months.It’s not just posturing: As screenwriters continue their strike against Hollywood companies, the two sides remain a galaxy apart, portending a potentially long and destructive standoff.“Any hope that this would be fast has faded,” said Tara Kole, a founding partner of JSSK, an entertainment law firm that counts Emma Stone, Adam McKay and Halle Berry as clients. “I hate to say it, but it’s going to be a while.”The Writers Guild of America, which represents 11,500 screenwriters, went on strike on Tuesday after contract negotiations with studios, streaming services and networks failed. By the end of the week, as companies punched back at union in the news media, and striking writers celebrated the disruption of shows filming from finished scripts, Doug Creutz, an analyst at TD Cowen, told clients that a “protracted affair seems likely.” He defined protracted as more than three months — perhaps long enough to affect the Emmy Awards, scheduled for Sept. 18, and delay the fall TV season.The W.G.A. has vowed to stay on strike for as long as it takes. “The week has shown, I think, just how committed and fervent writers’ feelings are about all of this,” Chris Keyser, a chair of the W.G.A. negotiating committee, said in an interview on Friday. “They’re going to stay out until something changes because they can’t afford not to.”The Alliance of Motion Picture and Television Producers, which bargains on behalf of studios, streaming services and networks, has maintained that it hopes “to reach a deal that is mutually beneficial to writers and the health and longevity of the industry.” Privately, however, member companies say they are prepared to weather a strike of at least 100 days. The most recent writers strike, which began in 2007 and ended in 2008, lasted that long.“It’s fair to say there’s a pretty big gap,” Bob Bakish, chief executive of Paramount Global, told analysts and investors on a conference call on Thursday. Paramount and its CBS subsidiary are prepared to “manage through this strike,” he added, “even if it’s for an extended duration.”Among the writers’ demands is that studios not let artificial intelligence encroach on writers’ credit or compensation.James Estrin/The New York TimesBoth sides have insisted that the other needs to make the first move to restart talks. None are scheduled. For the moment, media companies have turned to contract renewal negotiations with the Directors Guild of America, which start on Wednesday. That contract expires on June 30.Like writers, directors want more money, especially regarding residual payments (a type of royalty) from streaming services, which have rapidly expanded overseas. Before streaming, writers and directors (and other creative contributors, including actors) could receive residual payments whenever a show was licensed, whether that was for syndication, an international deal or DVD sales. In the streaming era, as global services like Netflix and Amazon have been reluctant to license their series, those distribution arms have been cut off.In addition to raises, however, writers want media companies — Netflix, in particular — to make structural changes to the way they do business. The companies — Netflix, in particular — say that is a bridge too far.The W.G.A. has proposals for mandatory staffing and employment guarantees, for instance. The union contends that the proposals are necessary because entertainment companies are increasingly relying on what is known in Hollywood slang as a miniroom. In one example of a miniroom, studios hire a small group of writers to develop a series and write several scripts over two or three months. Because they have not officially ordered the series, studios pay writers less than if they were in a large, traditional writers’ room.And given the relatively short duration of the position, those writers are then left scrambling to find another job if the show is not picked up. If a show does get a green light, fewer writers are sometimes hired because blueprints and several scripts have already been created.“While the W.G.A. has argued” that mandatory staffing and duration of employment “is necessary to preserve the writers’ room, it is in reality a hiring quota that is incompatible with the creative nature of our industry,” the studio alliance said in a statement on Thursday.Writers responded with indignation. “We don’t need the companies protecting us from our own creativity,” said Mr. Keyser, whose writing credits include “Party of Five” and “The Last Tycoon.” “What we need is protection from them essentially eliminating the job of the writer.”Writers also want companies to agree to guarantee that artificial intelligence will not encroach on writers’ credits and compensation. Such guarantees are a nonstarter, the studio alliance has said, instead suggesting an annual meeting on advances in the technology. “A.I. raises hard, important creative and legal questions for everyone,” the studios said on Thursday. “It’s something that requires a lot more discussion, which we have committed to doing.”Mr. Keyser’s response: Go pound sand.“This is exactly what they offered us with the internet in 2007 — let’s chat about it every year, until it progresses so far that there’s nothing we can do about it,” he said. In that case, have fun on the picket lines, studio executives have said privately: It’s going to be hot out there in July.Over the last week, media companies conveyed an air of business as usual. On Thursday, HBO hosted a red carpet premiere for a documentary, while the Fox broadcast network announced a survivalist reality show called “Stars on Mars” hosted by William Shatner.“3 … 2 … 1 … LIFT OFF!” the network’s promotional materials read.With the exception of late-night shows, which immediately went dark, Mr. Bakish assured Wall Street, “consumers really won’t notice anything for a while.” Networks and streaming services have a large amount of banked content. Reality shows, news programs and some scripted series made by overseas companies are unaffected by the strike. Most movies scheduled for release this year are well past the writing stage.Shares climbed on Friday for every company involved with the failed contract talks; investors tend to like it when costs go down, which is what happens when production slows, as during a strike. If the strike drags into July, analysts pointed out, studios can exit pricey deals with writers under “force majeure” clauses of contracts.“The sorry news for writers is that, in declaring a strike, they may in fact be helping the streaming giants and their parent companies,” Luke Landis, a media and internet analyst at SBV MoffettNathanson, wrote in a report on Wednesday.Writers, however, succeeded in making things difficult for studios over the first week. Apple TV+ was forced to postpone the premiere of “Still,” about Michael J. Fox and his struggle with Parkinson’s disease, because Mr. Fox refused to cross a picket line. In Los Angeles, writers picketed the Apple TV+ set for “Loot,” starring Maya Rudolph, causing taping to halt. In New York, similar actions disrupted production for shows like “Billions,” the Showtime drama. Other affected shows included “Stranger Things” on Netflix, “Hacks” on HBO Max and the MTV Movie & TV Awards telecast on Sunday, which went forward without a host after Drew Barrymore pulled out, citing the strike.“The corporations have gotten too greedy,” Sasha Stewart, a writer for the Netflix documentary series, “Amend: The Fight for America” as well as “The Nightly Show With Larry Wilmore,” said from a picket line last week. “They want to break us. We have to show them we will not be broken.”Writers went into the strike energized. But a rally at the Shrine Auditorium in Los Angeles on Wednesday seemed to supercharge the group, in part because leaders from other entertainment unions turned out to support them — and in fiery fashion. During the 2007 strike, writers were largely left to stand alone, while a union representing camera operators, set electricians, makeup artists and other crafts workers blasted the writers for causing “devastation.”Ellen Stutzman, chief negotiator for the writers, received a standing ovation from the estimated 1,800 people who attended the rally. During the session, writers suggested expanding picket lines to the homes of studio chief executives and starting a public campaign to get people to cancel their streaming subscriptions.Some writers realized that Teamsters locals, which represent the many drivers that studios rely on to transport materials (and people), would not cross picket lines. So they started to picket before dawn to intercept them. (The W.G.A. has advised a 9 a.m. starting time.) At least one show, the Apple TV+ dystopian workplace drama “Severance,” was forced to shut down production on Friday as a result of Teamsters drivers’ refusing to cross. More

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      in Television

      What’s on TV This Week: ‘Sam Now’ and ‘Jeopardy! Masters’

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      A coming-of-age documentary from PBS follows Sam Harkness and his family over 25 years, and a new iteration of the popular quiz show premieres on ABC.With network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, May 8-14. Details and times are subject to change.MondayKen Jennings hosting “Jeopardy! Masters.”Christopher Willard/ABCJEOPARDY! MASTERS 8 p.m. on ABC. The “Jeopardy!” champion and co-host Ken Jennings is now the host of the beloved quiz show’s latest iteration. Each episode will feature the current six highest-ranked “Jeopardy!” contestants competing in two games for $500,000 and the Masters champion title. Amy Schneider, Matt Amodio, Mattea Roach, Andrew He, Sam Buttrey and James Holzhauer appear in the premiere.SAM NOW 10 p.m. on PBS. Shot by Sam Harkness’s half brother, the director Reed Harkness, this documentary follows Sam as he grapples with his mother’s abrupt departure. Through home videos and interviews over 25 years, the film explores concepts of intergenerational trauma, familial relationships and healing as Sam searches for answers and inner peace. Nicolas Rapold’s review for The New York Times called it “a sensitive and surprising“ film “whose emotional reality seems to evolve before your eyes.”TuesdayDANCING QUEENS 9 p.m. on BRAVO. This docu-series follows six amateur dancers as they vie for top spots in the world of Pro-Am ballroom dancing, where professionals are paired with amateur partners for competitions. The six featured women this season range from stay-at-home mothers to businesswomen, all of whom invest their time, money and wits in practice, clothing, makeup, travel and the occasional sabotage in the hope of coming out on top.WednesdayWE NEED TO TALK ABOUT AMERICA 10 p.m. on FUSE. Featuring new and returning first-generation American comedians, this commentary series about the oddities of American pop culture is back for a second season. Gender reveals, eating contests and over the top marriage proposals are among the topics to be dismantled and roasted.THE GAME SHOW SHOW 10 p.m. on ABC. Through interviews with contestants and hosts as well as analyses of the game show genre’s evolution and scandals, this four-part series explores the history and persistence of a variety of American game show formats. The season premiere opens with an examination of the development of the quiz show, and what changes in the audience, contestants and questions asked reveal about American culture. Other episodes explore reality competitions and dating shows.ThursdayFrom left, David Morse, Michael Clarke Duncan and Tom Hanks in “The Green Mile.”Ralph Nelson/Castle Rock EntertainmentTHE GREEN MILE (1999) 8 p.m. on AMC. Adapted from the book of the same name by Stephen King, this Academy Award nominated film from the director Frank Darabont (‘The Shawshank Redemption’) is a death row drama that focuses on the reminiscences of Paul Edgecomb (Tom Hanks), a retired corrections officer residing in an assisted living facility in 1999. The film follows the story of John Coffey (Michael Clarke Duncan), a Black man who has been sentenced to death at “The Green Mile” — the nickname given to Cold Mountain Penitentiary’s death row, where Paul worked in the 1930s — after being convicted of raping and murdering two white girls. As it becomes evident that John is a healer of both humans and animals, and Paul and some of the other officers begin to doubt his guilt. In her review for The Times, Janet Maslin wrote that the film “makes the horrors of the death penalty grotesquely clear,” but that “much of it is very gentle.” She added that the three-hour film’s “unassumingly strong, moving performances and Mr. Darabont’s durable storytelling” make watching it “a trip worth taking.”FridayFrom left, Deborah Kerr, Kathleen Byron and David Farrar in “Black Narcissus.”Film ForumBLACK NARCISSUS (1947) 6:15 p.m. on TCM. This Golden Globe and Academy Award winning film, adapted from the novel of the same name by Rumer Godden, is a “work of rare pictorial beauty,” according to a review for The Times. It described the movie as “a coldly intellectual morality drama tinged with a cynicism” that hinges on its “provocative contemplation of the age-old conflict between the soul and the flesh.” It follows five nuns attempting to establish a school and hospital in an isolated town in the Himalayas — a mission that goes awry as they each succumb to the pressures of their environment. The film focuses especially on Sister Clodagh (Deborah Kerr) and Sister Ruth (Kathleen Byron), and their responses when their faith and morals are tested. The film was banned for four months in 1947 by the National Legion of Decency, a Catholic group, for its erotic themes. In 2020, the story was remade as an FX mini-series.SaturdaySimu Wu in the documentary “Hidden Letters.”Feng Tiebing/Cargo ReleasingHIDDEN LETTERS 8 p.m. on PBS. For Asian American and Pacific Islander heritage month, “Independent Lens” presents an exploration of gender relations in modern China through the lens of Nushu, a secret written language developed by women for women centuries ago in southern China. The documentary is structured around the stories of two Nushu practitioners — a divorced museum guide and an engaged musician — and hints at the ways in which the principles of Nushu are still at play today. “‘Hidden Letters’ compels when it dwells in the everyday lives of its two leads, capturing the stray misogyny leveled at them by their partners, fathers, bosses, customers and even strangers,” wrote Devika Girish in her review for The Times. “Like a totem from their ancestors, Nushu evidently helps these women reckon with their own lives and ambitions.”SundayMATCH ME ABROAD 10 p.m. on TLC. This new dating show follows matchmakers based in the Czech Republic, Colombia and Morocco as they work to find connections for seven Americans seeking love overseas. It chronicles the journeys of the singles and their motivations as well as the matchmakers’ perspectives, as they chaperone dates, translate and coach their clients. More

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      in Movies

      Book Review: ‘The Making of Another Modern Motion Picture Masterpiece,’ by Tom Hanks

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      Whimsically chronicling the creation of a Marvel-style movie, “The Making of Another Major Motion Picture Masterpiece” sags under a deluge of detail.THE MAKING OF ANOTHER MAJOR MOTION PICTURE MASTERPIECE, by Tom Hanks. Illustrated by R. Sikoryak.Sidelined by the pandemic, some actors fired up ceramics or sang fragments of “Imagine.” Tom Hanks, one of the most prominent to contract an early case of Covid, bounced back by making a run at the Great American Novel. Alas, it is more Forrest Gump trotting from coast to coast than Sully landing on the Hudson.Titled “The Making of Another Major Motion Picture Masterpiece,” the book arrives at a crossroads for Hollywood. The Writers Guild of America went on strike this past week, seeking pay increases in an age of streaming and protections from that thundering Godzilla, artificial intelligence. The consequent halt of film and TV production deprives not only audiences, but also the vast number of workers required to get stories onscreen: extras, editors, costume and lighting designers, makeup artists, caterers, drivers, gofers, key grips.“Masterpiece” is a loving homage to those workers, a true insiderly ensemble piece in the vein of “The Player” (written by Michael Tolkin in 1988, directed by Robert Altman in 1992), or Quentin Tarantino’s eventually self-novelized “Once Upon a Time … in Hollywood.”Minus the murder and gore, of course — this is Tom Hanks.The novel also acknowledges a fading time when leading actors, even avatars of Everyman decency like the author, were royalty: their work shown not in living rooms but red-velvet-swagged “palaces.”It’s framed by one of the outlying courtiers of the industry: a fictional former freelance journalist and reviewer named Joe Shaw. Now teaching creative writing at a minor Montana college, he has been granted access to the set of “Knightshade: The Lathe of Firefall” — a movie based on a comic from a Marvel-like company — along with the Gay Talese-like superpower of narrative omniscience. He recedes after a foreword, like John Ray Jr. from “Lolita.”“Masterpiece” then pans very slowly — with lots of emphatic italics, arch ellipses and a few footnotes — over the full arc of the fake movie’s development. So we begin with the back story of the comic’s writer, Robby Andersen (pen-name TREV-VORR), who had been inspired by an uncle, Bob Falls, a Marine in World War II, and follow a very long yellow brick road through the seemingly triumphant release of “Knightshade” at a fancifully imagined 1,114-seat theater, the Grand Cinema Center in Times Square, where “a fellow in a tuxedo” plays “New York, New York” on a house organ.Charm abounds — again, this is Tom Hanks — but “Masterpiece” is too often a maddeningly excursive endeavor that made me think, more than once, of a Richard Scarry book without the drawings. Alternate titles: “Hollywood: Busy, Busy Town” or “What Do Movie People Do All Day?” (Actually, it does have drawings, by R. Sikoryak: an old-timey comic the boy Robby reads at the corner drugstore, then another he created while working at Kool Katz Komix as TREV-VORR, and then a movie tie-in for “Knightshade,” all fine places to rest one’s detail-wearied eyes.)The novel’s multitude of characters includes Bill Johnson, the writer-director of “Knightshade” (a film more “Iron Man” than “Avengers”); an obnoxious leading man named O.K. Bailey (OKB for short), who’s cast as Firefall; and Wren Lane, who wins the part of Eve Knight, the alter ego of Knightshade, a heroine who like many modern women has trouble sleeping.“Sure, she wants to make her bed with a decent chap when the time is right, but the time is never right!” Lane tells Johnson’s assistant, Allicia Mac-Teer, anachronistically (Hanksishly). “Nor is the chap.”Advised to go by “Al” because of sexism, the assistant gets hired after mastering a time management system at community college, “L.I.S.T.eN.,” short for “Let It Settle, Then eNact,” and using it to order Johnson his favorite frozen yogurt. (Pomodoro technique, move over.) Then there is Ynez Gonzalez-Cruz, driver for a Lyft competitor, PONY, whose ingratiation into the “Knightshade” base camp will eventually get her an office of her own and, after years of struggling in the gig economy, a salary that’s “a joke of abundance.”Moviemaking, Hanks would remind us, can be a rising tide, not in the depressing new climate change way, but the old optimistic American lift-all-boats way.He also conveys successfully that this “Business of Show” in the “City of Angles,” as Johnson nicknames it, is thoroughly exhausting, a realm where everyone is Wren Lane, waiting for the golden hour shot, showing up to get fake blood applied at 2 a.m. The word “coffee” appears, by my count, on 85 pages: triple espressos from a Di Orso Negro machine with frothed half-and-half for Mac-Teer; HaKiDo with oat milk for OKB; Pirate drip for a Teamster named Ace Acevido. Highly specific smoothies are fetched; catering tables are lovingly inventoried.“The offerings are both substantial, healthy snacks and stuff that is horrible for you but so very, very much appreciated,” our omniscient narrator shares. Sometimes “Masterpiece” reads like the thank-you speech Hanks, consummate nice guy, would give if granted unlimited time at the Oscars. You might admire its rah-rah spirit, yet still want to press fast-forward.A note on the type: Hanks has spoken and written extensively before, including in The New York Times, about his obsession with typewriters. A different antique model was featured in each of the 17 stories contained in his last book, a collection called “Uncommon Type.” Encountering a vintage Smith-Corona Sterling, Johnson’s chosen instrument, on Page 96 of “Masterpiece,” I rolled my eyes tolerantly.After turning 50 pages more and finding a minor character selling “Royals, Underwoods, Remingtons, Hermes, Olivettis, all in working order,”as if in an Etsy shop, I had to fight a strong urge to close the book, fire up a triple espresso and see if anything was happening in the tiny palace of my iPhone.THE MAKING OF ANOTHER MAJOR MOTION PICTURE MASTERPIECE | By Tom Hanks | Illustrated by R. Sikoryak | 499 pp. | Alfred A. Knopf | $32.50 More